臺灣現代主義長詩詩學與創作實踐（1950 年代-1960年代）

Abstract

一九五○年代到一九六○年代是臺灣現代主義詩學蓬勃發展的時期，長詩在該時間段內已被許多現代詩人實驗過，其中不乏有〈石室之死亡〉、〈深淵〉和〈敲打樂〉等詩史名篇。本文試圖規範長詩和組詩的義界，並從一九五○年代為起點，以詩人瘂弦從反共長詩到超現實主義長詩的詩風丕變為例，說明此間關要實則可就「現代詩長化」或「長詩現代化」的命題加以釐清。再據此下探方思、洛夫、瘂弦、余光中和葉珊等詩人在詩作結構上富有時代意義的各種發展方式，指出——方思長於複沓的抒情長組詩；洛夫、瘂弦和羅門等詩人共有的「把痛苦奇觀化」的一種「博物焦慮」，以及此一脈寫作思路與李英豪、葉維廉、顏元叔等批評家之間的觀念折衝；余光中受美國詩影響，最終在長詩〈敲打樂〉中尋回現代詩之「賦」義的拉長之法，樹立起與超現實主義詩人相對的一脈作風；葉珊則取資多方，尤擅長藉由切換視角與聲腔拉長詩作。他既有較單純的抒情長詩〈異鄉〉，也有與「組詩」此一大概念分外糾葛的詩群、複合詩和套詩之重量級作品。在文體實驗與延長詩作之方法的突破意義上，當可謂集一時之大成。

During the thriving period of Taiwanese modernist poetics between the 1950s and 1960s, many modern poets experimented with the long poem, often producing landmark works such as “Death of a Stone Cell,” “Abyss,” and “Music Percussive.” This thesis attempts to delineate the meaning of the long poem and the poetic sequence and, taking as its starting point the 1950s and as a representative Ya Hsien’s stylistic evolution from the anti-communist long poem to the surrealist long poem, aims to explain how the core of the issue might be clarified through the question of the “lengthening of modern poetry” or the “modernization of the long poem.” Building on this foundation, the thesis further explores the significant evolution in poetic structure of Fang Si, Luo Fu, Ya Hsien, Yu Kwang-Chung, Yeh Shan and others, pointing out that: Fang Si excelled at iterative long lyrical poetic sequences; Luo Fu, Ya Hsien, Luo Men and others shared a kind of “encyclopedic anxiety” that “spectacularizes pain,” as well as such a trope’s negotiation with Li Ying-hao, Yeh Wei-lien, and Yen Yuan-Shu; Yu Kuang-Chung, influenced by American poetry, established a poetics distinct from surrealist poets through retrieving a method of stretching a modernized fú in his long poem “Music Percussive”; Yeh Shan instead drew on multiple resources and mastered in stretching poems by switching between voices and perspectives. Having written the rather simplistic lyrical long poem “Strange Country” but also major works in forms entangled with the concept of the “poetic sequence”—the poem cluster, the composite poem, and framed poem—Yeh Shan can be said to represent a culmination of the period in terms of formal experimentation and his method of lengthening poetry.